In Fabric

V' 18

In Fabric

Peter Strickland
GB, 2018
Features, 118min, OF

© Viennale © Viennale © Viennale

In Fabric

Peter Strickland
GB, 2018
Features, 118min, OF

So
28
Okt
23:15
Gartenbaukino
Mo
29
Okt
21:00
Urania
Mit: 
Gwendoline Christie
Gwen
Marianne Jean-Baptiste
Sheila
Hayley Squires
Babs
Leo Bill
Regg
Drehbuch: 
Peter Strickland
Ton: 
Martin Pavey
Kamera: 
Ari Wegner
Schnitt: 
Matyas Fekete
Musik: 
Cavern of Anti-Matter
Ausstattung: 
Paki Smith
Kostüm: 
Jo Thompson

Produktion: 
Rook Films
Head Gear Films
Metrol Technology
Weltvertrieb: 
Bankside Films
Format: 
DCP
Farbe

Das rote Kleid, das Sheila in dem seltsamen Warenhaus mit den puppenartigen Verkäuferinnen erwirbt, um ihr Blind-Date zu beeindrucken, bringt ihr kein Glück: Der Typ ist ein Vollkoffer, danach schrottet der edle Fetzen auch noch die Waschmaschine – und wird später überdies dem Mechaniker zum Verhängnis. Das Unheimliche und das Groteske gehen Hand in Hand in Stricklands neuestem Streich, einem ebenso sinnlich-lustvollen wie respektlos- abstrusen Spiel mit den Tropen des Horrorfilms. Was sich da allerdings an den Genremustern entlang hangelt, ist nicht zuletzt eine Reflexion über den Fetisch-Charakter von Kleidung. Der Begrif „fashion victim“ ist hier wörtlich zu nehmen. (Alexandra Seitz)

In Anwesenheit von Peter Strickland.

 

Fashion designer Bill Blass once famously declared: “When in doubt, wear red.” In his latest Giallo filled hocus-pocus ecstasy Peter Strickland contradicts the statement by following the ways of a highly doubtful red dress. The film works like a dressmaker’s wet nightmare or a a surprisingly funny variation on Robert Bresson’s L’ARGENT. A haunted and beautiful red dress possesses dark powers and endangers the life of everybody who wears it. The film follows the dress instead of the characters. From a hilariously perverted and uncanny department store to a striking sound design and hypnotic musical score by Cavern of Anti-Matter everything within Strickland’s perception re-awakens the ghosts of 1970’s Italian horror cinema. It is one of those films one would love to own every single prop of, including a book called “How to flirt with older women” by fictional writer Dr. Roderick de Vranick, even knowing that at least one of those objects would bring death. Yet, while drifting more and more into a pastiche abstraction between lipstick, blood and fingernail eroticism the film also talks about human insecurities in neoliberal Great Britain and finds a strong anchor in its anti-capitalist doubt. (Patrick Holzapfel)

In the presence of Peter Strickland.

Peter Strickland: KATALIN VARGA (2009), BERBERIAN SOUND STUDIO (2012), THE DUKE OF BURGUNDY (2014), THE FILM THAT BUYS THE CINEMA (2014), BJÖRK: BIOPHILIA LIVE (2014), THE FIELD GUIDE TO EVIL (Episode THE COBBLERS’ LOT) (2018)